Relevant bibliographies by topics / Storyboard

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Storyboard'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Storyboard"

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Kandriasari, Annis, Robinson Situmorang, Suyitno Muslim, and Jhoni Lagun Siang. "HOW TO DEVELOP A BREAD PROCESSING VIDEO STORYBOARD." Asia Proceedings of Social Sciences 5, no. 2 (December 30, 2019): 137–41. http://dx.doi.org/10.31580/apss.v5i2.1132.

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The purpose of this study was to produce a video storyboard guide for bread processing practicum and the feasibility level of a practical guide video storyboard in a Bread Processing practicum course. This research uses research and development methods, conducted with the development of practicum guide video storyboards. Data collection techniques through interviews and questionnaires. Data analysis techniques using quantitative and qualitative data analysis. The procedure for developing instructional media is carried out by preparing an outline of the contents of the material, preparing a description of the material and preparing a storyboard. Furthermore, validation of the assessment by material experts, media experts, learning experts to assess the feasibility of the contents of the storyboard. The results of the expert material assessment showed that the storyboard was feasible, the assessment of the storyboard media experts in the feasible category, the assessment of the learning expert was very feasible to be developed into a practicum guidance video.
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Yuliarni, Ike, Jefri Marzal, and Eko Kuntarto. "Analysis of Multimedia Learning Mathematics Storyboard Design." International Journal of Trends in Mathematics Education Research 2, no. 3 (June 30, 2019): 149. http://dx.doi.org/10.33122/ijtmer.v2i3.119.

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This study aims to describe the characteristics of storyboard design and to find out the multimedia storyboard design of mathematics learning in the production of BTIKP (Center for Information and Communication Technology Education) of the Jambi Provincial Education Office according to the rules based on ADDIE framework learning design. The researcher uses the ADDIE framework learning design because this design is more effectively used as a reference for the creation and development of a learning media. From the results of the identification carried out by the researcher in three stages. For the characteristics of the multimedia storyboard design of mathematics learning produced by the BTIKP (Center for Educational Information and Communication Technology) of the Jambi Provincial Education Office, there is one storyboard that satisfies the assessment, namely in the third stage (evaluating and revising) for multimedia storyboards learning mathematics with Geometry Transformation material. Overall the design of the five multimedia storyboards of mathematics learning produced by the BTIKP (Center for Educational Information and Communication Technology) of the Jambi Provincial Education Office which has been investigated by researchers is still a design that is not in accordance with the design of ADDIE framework learning.
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Roselin, Michelle, and Naldo Yanuar Heryanto. "Composition Method in Creating Storyboard Novel "My Idiot Brother"." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 182–86. http://dx.doi.org/10.37312/imoviccon.v2i1.89.

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In making this concept study, it discusses the making of storyboard design as a means of storytelling. Meanwhile, the issue discussed in this study is to discuss discrimination. Discrimination is not only through religion, race, ethnicity, culture, gender and even physical and even mental. From this, it is in accordance with the book that will be discussed, namely the novel "My Idiot Brother" by Agnes Davonar. In making this work, the Ed Ghertner method was used which was an important part of the storyboard design. Storyboard itself is a medium that can be used in story telling in films. So that it can convey awareness with a visual storyboard depiction that can describe the situation and mood in one story scene. Collecting data using literature study from materials or from second hand to obtain data. Then discuss how the process of making storyboards using 3 ways such as Why do films in Indonesia still have shortcomings? How can storyboard theory improve the form in the visual scene in the story? whether the storyboard theory can improve the visuals in the film ?. From these three questions, it also leads to the conclusion that the Ed Ghertner method is useful for making the form in depicting a visual story aesthetically better form.
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Córdova, Tania Pérez. "“Storyboard”." MaHKUscript. Journal of Fine Art Research 2, no. 1 (March 14, 2018): 13. http://dx.doi.org/10.5334/mjfar.36.

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Mahardhika, Satrya, and A. F. Choiril Anam Fathoni. "Storyboard dalam Pembuatan Motion Graphic." Humaniora 4, no. 2 (October 31, 2013): 1183. http://dx.doi.org/10.21512/humaniora.v4i2.3560.

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Motion graphics is one category in the animation that makes animation with lots of design elements in each component. Motion graphics needs long process including preproduction, production, and postproduction. Preproduction has an important role so that the next stage may provide guidance or instructions for the production process or the animation process. Preproduction includes research, making the story, script, screenplay, character, environment design and storyboards. The storyboard will be determined through camera angles, blocking, sets, and many supporting roles involved in a scene. Storyboard is also useful as a production reference in recording or taping each scene in sequence or as an efficient priority. The example used is an ad creation using motion graphic animation storyboard which has an important role as a blueprint for every scene and giving instructions to make the transition movement, layout, blocking, and defining camera movement that everything should be done periodically in animation production. Planning before making the animation or motion graphic will make the job more organized, presentable, and more efficient in the process.
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Matalanna, Daniel. "Sentient Storyboard." Color Research & Application 43, no. 6 (November 26, 2018): 928. http://dx.doi.org/10.1002/col.22295.

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McCormick-Huhn, Kaitlin, and Stephanie A. Shields. "The emotion storyboard: A method to examine social judgments of emotion." PLOS ONE 16, no. 4 (April 2, 2021): e0249294. http://dx.doi.org/10.1371/journal.pone.0249294.

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As perceivers, we need to understand context to make social judgments about emotion, such as judging whether emotion is appropriate. We propose a graphic novel-like method, the emotion storyboard, for use in research on social judgments of emotion. Across two studies, participants were randomly assigned to read emotion storyboards or written vignettes to compare the efficacy of the emotion storyboard to that of vignettes in studies on social judgments of emotion. In Study 1, undergraduates (N = 194) answered comprehension questions and rated story clarity and immersion. Participants also made social judgments of emotion by rating main character emotion control and appropriateness of intensity. To further compare the efficacy of the methods, in Study 2, Amazon Mechanical Turk workers (N = 213) answered comprehension questions while response times were recorded, rated clarity, answered a race manipulation check, and rated main character emotion type appropriateness. Overall, emotion storyboards resulted in greater clarity ratings, greater race manipulation check accuracy, and in some instances, enhanced comprehension and comprehension response times relative to vignettes. In emotion storyboards, main character emotion was rated more controlled and more appropriate in intensity, but not different in emotion type appropriateness, than in vignettes. Overall, the method offers a new method of examining social elements of emotion that enhances comprehension and maximizes experimental efficiency.
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Kunto, Imbar, Diana Ariani, Retno Widyaningrum, and Regita Syahyani. "Ragam Storyboard Untuk Produksi Media Pembelajaran." Jurnal Pembelajaran Inovatif 4, no. 1 (January 28, 2021): 108–20. http://dx.doi.org/10.21009/jpi.041.14.

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The media producer must be able to design the message and then simultaneously visualize the idea of the message before continuing it at the next production stage of various media formats that may be developed for learning. As for seeing the needs of the Education Technology study program students related to the production of learning media, the researcher determined the purpose of this study was to produce a variety of storyboards for the production of instructional media. The ADDIE development framework is used in this development research, while the procedures in this model are carried out linearly or a work process will occur continuously. The following are the steps that will be carried out in this research: Analysis (Analyze.), Design (Design), Development (Implementation), Implementation (Implementation), Evaluation (Evaluation). The output in the form of a storyboard for digital media production is the result of this development, which consists of two storyboard template formats based on linear and non-linear presentation flows. Mahasiswa sebagai media developer harus mampu mendesain pesan kemudian secara simultan melakukan visualisasi ide dari pesan tersebut sebelum melanjutkannya pada tahap produksi selanjutnya dari beragam format media yang mungkin dikembangkan untuk pembelajaran. Adapun melihat kebutuhan dari para mahasiswa terkait produksi media-media pembelajaran, maka dengan ini peneliti menentukan tujuan dari penelitian ini adalah menghasilkan ragam storyboard untuk produksi media pembelajaran. Model pengembangan yang digunakan pada penelitian pengembangan ini adalah dengan menggunakan framework ADDIE, adapun pada ADDIE ini dilakukan secara linear atau akan terjadi proses kerja yang dilakukan secara kontinyu prosesnya. Berikut langkah-langkah yang akan dilakukan dalam penelitian ini: Analisis (Analyze.), Desain (Design), Pengembangan (Development), Implementasi (Implementation), Evaluasi (Evaluation). Hasil dari penelitian pengembangan ini adalah produk berupa storyboard untuk produksi media digital berdasarkan alur penyajian yang terdiri dari dua format template storyboard linear dan non-linear.
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Ayob, Sameera, and Margaret Funke Omidire. "Storyboards as a Qualitative Method of Exploring Learners’ Experience With the Use of a Multilingual Support Strategy." International Journal of Qualitative Methods 20 (January 2021): 160940692110343. http://dx.doi.org/10.1177/16094069211034391.

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Globally, learners in multilingual classrooms experience challenges, especially when the language of instruction is not their first language (L1). This results in language barriers to learning when monolingual language-education policies prevail in multilingual contexts. Translanguaging as a pedagogy has gained momentum and accepts the use of multiple languages to co-exist in multilingual classrooms. Over the last decade, accepting the use of multiple languages in multilingual classrooms and including learners’ L1 to enhance learning and provide support have been gaining momentum. This article reports on utilising storyboards to explore learners’ perspectives and emotions in a study that uses translanguaging as an intervention with Grades 5 and 6 learners in two schools in a South African township. The storyboard technique is a creative qualitative method to understand the subjective experiences of how children experience L1 in multilingual classes by expressing their emotions and feelings on individual personal storyboard paper. Translanguaging practices were introduced in the two schools to understand how it affects the teaching and learning in multilingual classrooms. We describe how the storyboards depicted positive emotions and views towards translanguaging by gaining a deeper understanding of how multilingual practices make learning a holistic experience for the learners involved. We provide information on the context of translanguaging and the methods implemented to include L1 and describe how the use of storyboards as data gathering tools positively portrayed the learners’ learning experiences. We propose that the use of storyboards as a creative qualitative method of expressing childrens views and emotions in multilingual classes enriched the themes elicited.
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Greenberg, Saul, Sheelagh Carpendale, Nicolai Marquardt, and Bill Buxton. "The narrative storyboard." Interactions 19, no. 1 (January 2012): 64–69. http://dx.doi.org/10.1145/2065327.2065340.

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Dissertations / Theses on the topic "Storyboard"

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Whitley, Marc Geoffrey. "Architectural Narrative through Spatial Sequencing." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83780.

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Architecture is temporal. It is rooted in time and place and subject to the elements and actors that embody its space. As actors, we are active participants in this dynamic, whether consciously or subconsciously. Spatial comprehension is internalized through vision and augmented by touch – the body, hands, feet, and aural experiences. Within this paradigm, we perceive the passage of time and space as an infinite stream of consciousness, or narrative of events, successively linked through memory. Bernard Tschumi describes this sequence as “space, event, movement”, a fragmentary slice within the infinitely repeating sequence of our experiences. Simply existing in the world weaves us into this sequence. Out of the infinite, architects define space and develop a physical narrative through which actors engage and meaning is derived. Our syntax is the walls, ceilings, floors, solids and voids. And like writing or in film, architectural significance is based upon the juxtaposition and combination of sequential “chapters”. Although this quality is inherent to architecture, architects often undervalue supporting content for critical passages. “Programs fall into three categories: those that are indifferent to the spatial sequences, those that reinforce it, and those that work obliquely or against it” (Tschumi 159). Most architecture seems to follow the first order, or reinforce spatial sequences where it is convenient. Are we not concerned with the journey from point A to point be B?
Master of Architecture
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Svenblad, Hampus, and Josefin Bengtsson. "Ideation through visualization : – The use of Storyboard as a preparing tool." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-24270.

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Problem Ideation in group is used by many, often as a tool for creating new and innovative ways to solve problems and creating change. Groups may have difficulties to move from the phase of inspiration to the phase of ideation, if information and ideas aren’t defined in the team. The authors claim that this process can be helped by providing practical tools that are adapted and tested for the purpose. The reason is to foster concretization of volatile thoughts in form of inspiration and information. Purpose The study aims to investigate how Storyboard as a tool can be used to concretize thoughts and inspiration in a group before ideation. Method In order to collect empirical data the authors along with four other facilitators, conducted 24 DO TANK:s for the innovation contest Smart Lunch. The empirical data where then analyzed using theories related to the topic. To obtain further empirical information the authors conducted a open dialogue with the other facilitators. Conclusions The study shows that it’s possible to use Storyboard as a tool for specifying and collect a group’s thoughts before ideation. Furthermore the authors consider that the use of Storyboard enables a more efficient ideation as the groups becomes more focused when they’ve defined their thoughts.
Problemformulering Idégenerering i grupp används idag av många, ofta som ett verktyg för att kunna skapa nya och innovativa sätt för att lösa problem och skapa förändring. Det finns svårigheter för grupper att gå från det som författarna kallar inspirationsfasen vidare till idégenereringsfasen, då information och tankar fortfarande inte är fastställda. Författarna menar att denna process går att underlätta genom att tillföra konkreta verktyg anpassade och testade för idéutvecklingsprocessernas olika faser. Anledningen är att främja konkretisering av flyktiga och svårtolkade tankar i form av inspiration och information. Syfte Studiens syfte är att undersöka hur verktyget Storyboard, tidigare använt inom filmindustrin kan användas som konkretiseringsverktyg inför en idégenerering i en gruppkonstellation? Metod För att samla in empirisk data har författarna, tillsammans med fyra andra facilitatorer, genomfört 24 st. DO TANK:s för innovationstävlingen Smart Lunch. Detta empiriska material har sedan analyserats med hjälp av teorier kopplade till ämnet. För att få ytterligare empirisk information har författarna utfört en öppen dialogintervju med facilitatorerna. Slutsatser Studien visar att det med fördel går att använda verktyget Storyboard för att konkretisera och samla en grupps tankar inför en idégenrering. Vidare anser författarna att detta möjliggör en effektivisering av idégenrereringsprocessen då denna blir mer fokuserad när gruppen är enig.
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Guerra, Cecília Vieira. "Avaliação do storyboard e da metodologia de desenvolvimento do courseware ser(e)." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/4879.

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Mestrado em Comunicação e Educação em Ciência
A falta de Courseware para a aprendizagem das Ciências no 1º Ciclo do Ensino Básico (CEB), concebidos no âmbito da Educação para o Desenvolvimento Sustentável, numa perspectiva de Ensino por Pesquisa, determinou a organização de uma equipa multidisciplinar, constituída por elementos com diversas competências (ao nível da Didáctica das Ciências, da Tecnologia Educativa e de Design), para o desenvolvimento do Courseware Sere “O Ser Humano e os recursos naturais”. Ajustando alguns princípios de desenvolvimento de software, particularmente de Design Centrado no Utilizador (DCU), o trabalho da equipa multidisciplinar centrou-se na concepção da ideia inicial do recurso didáctico, o storyboard do Courseware Sere, que integra várias tipologias de software com as actividades didácticas. Tendo em conta premissas do DCU e de usabilidade, nomeadamente o papel central da avaliação ao longo do processo de desenvolvimento do Courseware Sere procurou-se encontrar respostas para duas questões de investigação: i) Quais as percepções positivas e/ou negativas de “avaliadores externos” relativamente ao storyboard? ii) Que potencialidades e/ou constrangimentos emergiram da metodologia adoptada para o desenvolvimento do Courseware Sere? A investigação realizada foi de índole qualitativa e do tipo Investigação e Desenvolvimento (I&D). No que respeita às técnicas para a recolha de dados, foram potenciadas a observação participante do investigador, através da realização de diários do investigador ao longo do processo de desenvolvimento do Courseware Sere, e o inquérito por entrevistas e por questionários. A análise dos dados recolhidos possibilitou apurar os aspectos positivos do Courseware Sere, que se centram, principalmente, ao nível do potencial educativo deste recurso para o processo de ensino e aprendizagem das ciências, bem como nos aspectos pensados para a interface e navegação do recurso. Todavia, os “avaliadores externos” identificaram aspectos negativos do ponto de vista didáctico, nomeadamente ao nível da concepção didáctica de alguns cenários, cuja exploração poderá criar estereótipos e preconceitos. Foi ainda possível verificar potencialidades no trabalho em equipa multidisciplinar como, por exemplo, a apropriação de competências tecnológicas e didácticas de vários elementos, para a concepção do storyboard. Porém, foram identificados problemas ao nível do trabalho da equipa como, por exemplo, a dificuldade de comunicação entre os vários elementos. A participação de “avaliadores externos” também foi identificada como um aspecto positivo na etapa de avaliação do storyboard do Courseware Sere. Assim, considera-se que o estudo efectuado contribuiu para a melhoria, por um lado, do storyboard e, por outro, da estratégia de desenvolvimento do Courseware Sere, prévia à etapa de concepção tecnológica.
The lack of courseware for Sciences’ teaching and learning in Primary School level, conceived according to Education for Sustainable Development approach, was the reason that determined the organisation of a multidisciplinary team with different competences (on Science Education, Educational Technology and Design) for the development of the Courseware Sere “The Human Being and natural resources”. Thus, adjusting some principles of software’s development, mainly as far as User Centred Design (UCD) is concerned, the team conducted the conception of the initial idea of the didactical resource, the Courseware Sere storyboard, which integrated several software typologies within the didactic activities. Having in mind the UCD’s principles and the usability, namely the crucial role played by the evaluation through the Courseware Sere development process, one intended to find some answers to two research questions: i) Which are the positive and/or negative perceptions of “external evaluators” concerning the storyboard? ii) Which are the potentialities and constraints emerged from the methodology adopted in the development of the Courseware Sere? The methodology adopted is of qualitative kind and of Research and Development nature. As far as data collection is concerned, one chose participant observation, analysing researcher’s diaries throughout the process of Courseware Sere development, as well as interviews and questionnaires. Data analysis allowed us to identify the positive aspects of Courseware Sere, which are related to the educational potential of such a resource in the teaching and learning of Sciences and the interface nature of such product. However, the “external evaluators” also identified negative aspects, mainly connected to the conception of some scenarios which may convey some stereotypes and prejudices. It was also possible to verify the potentialities of the work within a multidisciplinary team, for example, concerning the know-how appropriation of several elements for the conception of the storyboard. The participation of “external evaluators” was also identified as a positive aspect in the stage of Courseware Sere storyboard evaluation. However, there were identified some problems as far as team work was concerned, mainly related to the communication amongst its members. We believe that the study undertaken contributed to the improvement of the storyboard, as well as of the strategy adopted in the development of Courseware Sere, previous to the technological conception stage.
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Yates, Simon Innes. "Dimensions Variable: Art and Invention." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15070.

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In this Research Paper, I investigate a key theme of my art practice: approaching art-making as a 'pseudo scientist' or 'backyard (amateur) inventor'. Through my research I have examined the potential benefits of this approach, and the value of a strategy of working within limited means and contexts, particularly where such 'inventiveness' is sure to be superseded by much more powerful forces of technological innovation. I have identified other artists whose work is constructed with a particular emphasis on an innovativeness of construction, whether it is to function as a critique of technology or to have an educational role, or to generate novelty for its own sake. Many of my previous artworks have been technologically inventive in a 'low-tech' way, such as my 'robots' or 3-D photocopying. In the projects I have worked on during my research period I have developed a different type of 'invention' that is new to my art practice. Through the synthesis of a diverse collection of information I have constructed narrative stories, which in turn have led me to construct props and models to illustrate the stories. In the Research Paper I discuss the two series of artworks I produced using this approach of building a narrative: the Diana Jones Trilogy of adventure stories inspired by information I gathered through my zine projects, and the Space Wizards Trilogy of science fiction stories which feature many of my art inventions and also creatures and robots inspired by 20th century art movements. These projects were inspired by the pre-production process of film-making. This connection to filmmaking and cinematic visual effects relates to the Pataphysical themes I have also explored in past works, where an idea may seem plausible in a certain context, in the same sense that a miniature model may seem enormous in the context in which it appears in a film.
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Singh, Rishabh. "Storyboard programming of data structure manipulations : a picture is worth 20 lines of code." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/60187.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.
Includes bibliographical references (p. 67-69).
We introduce Storyboard Programming, a new programming model that harnesses the programmer's visual intuition about a problem to synthesize a correct implementation. The motivation for our technique comes from the domain of data-structure manipulations. In this domain, programmers often think in terms of abstract graphical visualizations but have a hard time translating that intuition into low-level pointer manipulating code. We aim to bridge this gap and show that it is possible to derive the low-level implementation automatically from the graphical specifications with little additional input from the programmer. The storyboard in our programming model consists of a series of scenarios which show how the data-structure evolves under different conditions. We present two novel algorithms to synthesize the code from the storyboards. The algorithms derive an abstract domain and a set of correctness conditions automatically from the storyboards. The synthesizer uses the abstract domain to perform abstraction guided combinatorial synthesis. The resulting program is guaranteed to satisfy the correctness conditions derived from the storyboard, and to conform to the high-level structure specified by the programmer. We have implemented our framework successfully on top of the SKETCH system. Our implementation is capable of synthesizing several interesting data-structure manipulations such as insertion, deletion, rotation, reversal over linked list and binary search tree data structures.
by Rishabh Singh.
S.M.
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Russell, Diane. "Du storyboard au storyboardeur : étude comparative d'une activité cinématographique en France et aux États-Unis." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030067.

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Ce travail a pour point de départ une analyse quantitative de l’objet »storyboard » faite sur un large corpus. La taxinomie ainsi établie, croisée avec une approche qualitative, nous permet de mettre en lumière des codes de communication et des invariants inhérents à ce dispositif de pré-production. Cela aboutit, dans un premier temps, à la définition de l’outil storyboard parmi les autres dessins de préparation cinématographique. Le classement des données en fonction de leur période apporte ensuite une perspective nouvelle à l’analyse : c’est par l’objet, trace de sa propre histoire et vecteur de pensées, que se dessinent les interactions sociales et la professionnalisation de ceux qui le confectionnent. L’étude porte sur deux conceptions différentes de la pratique du storyboard, d’un côté et de l’autre de l’Atlantique
The starting point of this work involves a quantitative analysis of the object »storyboard » applied on a large corpus. The taxonomy here established, crossed witha qualitative approach, allows one to reveal communication codes and invariantsinherent to this preproduction device. This first leads to the definition of the toolstoryboard among other film preparation drawings. The classification of the dataaccording to its period then brings a new perspective to the analysis: it is through theobject, vestige of its own story and vector of ideas, from which are drawn the socialinteractions and the professionalization of those who manufacture it. The studyconcerns two different conceptions of the storyboarding practice, on both sides of theAtlantic Ocean
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Hagberg, Lisa. "Onlinebokning med användarupplevelsen i fokus." Thesis, Högskolan i Gävle, Avdelningen för bygg- energi- och miljöteknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-27802.

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Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.

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The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.
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Nikoo, Elham. "Come with Me." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/82404.

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Come with Me is the process of making a short 3D animation. Introducing the practice as a research method, I explored 3D animation production steps in a non-linear workflow. Each production step is then introduced along with the mind processes as Come with Me was developed from the story to the final animated scenes. The failed attempts are also included as an important part of this research. In the end, the workflows that allow for mistakes at each step of the 3D animation production are being explored.
Master of Fine Arts
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Braga, Pedro Henrique Cacique. "Slap: uma linguagem visual para geração semiautomática de animações a partir de storyboards." Universidade Presbiteriana Mackenzie, 2017. http://tede.mackenzie.br/jspui/handle/tede/3395.

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Digital animations development is a process that covers different knowledge areas and pursuits to connect computational processes with authors’ creative ability. Creation tools existent in the market require a wide knowledge of animation principles and also present a dense learning process. For the sake of the learning curve simplification in order to get faster results, inspiration in traditional cinema and in artificial intelligence systems to create new methods is sought. In animations preproduction steps, generating faster animations (animatics) in order to get script understanding is necessary. The creation basis of those animations is the document known as storyboard, which displays visually movies plots and scene compositions. This work presents the proposition of the language SLAP (Storyboard Language for Animation Programming), which purpose is to unify different visual representations of scenic elements contained in storyboards. A formal grammar is developed for this new structure and a novel storyboards creation method is proposed in order to optimize and unify pre-production learning process. SLAP interpretation is capable of producing semiautomatic animations in several levels of complexity, elevating the ordinary storyboard to an animated document. The prototype of the tool SLAP Editor is also presented as a proof of concept and validation of the language, which uses artificial intelligence and digital image processing concepts to recognize the visual language developed. Results of user experience evaluation tests with different preproduction experience levels are also analyzed.
O desenvolvimento de animações digitais é um processo que envolve diferentes áreas do conhecimento e busca facilitar o uso de instrumentos computacionais para ampliar a capacidade criativa de autores. As ferramentas de criação do mercado requerem um vasto conhecimento dos princípios de animação e apresentam um processo de aprendizagem denso. Com o intuito de simplificar a curva de aprendizagem para que sejam obtidos resultados rápidos, busca-se inspiração no cinema tradicional e nos sistemas de Inteligência Artificial para criação de novos métodos. Na etapa de pré-produção de animações é necessário gerar animações rápidas (animatics) para entendimento do roteiro. A base de criação destas animações é o documento conhecido como storyboard, que apresenta de forma visual o enredo e a composição das cenas do filme. Este trabalho apresenta a proposta da linguagem SLAP (Storyboard Language for Animation Programming), que tem como objetivo unificar as diferentes representações visuais de elementos cênicos contidas nos storyboards. A gramática formal para esta linguagem permite um novo método de criação de storyboards a fim de otimizar e unificar o entendimento do processo de pré-produção. A interpretação da SLAP é capaz de produzir animações semiautomáticas de variados graus de complexidade, elevando o storyboard comum a um documento animado. Apresenta-se ainda o protótipo da ferramenta SLAP Editor, como prova de conceito e validação da linguagem, que utiliza conceitos de inteligência artificial e processamento digital de imagens para reconhecimento da linguagem visual criada. Também são analisados os resultados de testes com usuários de diferentes graus de experiência na pré-produção.
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Books on the topic "Storyboard"

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DesRuisseaux, Pierre. Storyboard: Poésie. Montréal, Québec: L'Hexagone, 1986.

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Jones, Andy. The storyboard. London: Film Education, 2000.

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Jones, Andy. The storyboard. London: Film Education, 2000.

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Hendrix, Jan. Storyboard: Jan Hendrix. Monterrey, N.L: Museo de Arte Contemporneo de Monterrey, 2006.

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Hendrix, Jan. Storyboard: Jan Hendrix. Monterrey, N.L: Museo de Arte Contemporneo de Monterrey, 2006.

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Triste, Amilcar Abreu Fernandes. Storyboard. Independently Published, 2019.

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Sauter, lluBine, Spinnlabor Selfpublishing, and Ludwig Ganghofer. Storyboard. Independently Published, 2019.

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John, Bowen. Storyboard. Faber & Faber, Limited, 2008.

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John, Bowen. Storyboard. Faber & Faber, Limited, 2013.

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Adventure, Funny. Storyboard: Blank Storyboard Sketchbook Pad. Independently Published, 2021.

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Book chapters on the topic "Storyboard"

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Dobbins, Alison C. "Storyboard." In Projection Design for Theatre and Live Performance, 39–49. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003137207-5.

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Abrams, Michael C. "Storyboard." In The Art of City Sketching, 388–406. 2nd ed. Names: Abrams, Michael (Michael C.) author. Title: The art of city sketching : a field manual / Michael Abrams. Description: 2nd edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003026037-10-13.

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Lackerbauer, Ingo. "Das Storyboard." In Handbuch für Online-Texter und Online-Redakteure, 70–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-642-55640-1_4.

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Hoffman, Joseph, Hans-Eric Grönlund, Colin Francis, and Shawn Grimes. "Storyboard Recipes." In iOS 7 Development Recipes, 59–91. Berkeley, CA: Apress, 2013. http://dx.doi.org/10.1007/978-1-4302-5960-2_2.

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Hooffacker, Gabriele. "Hypertext und Storyboard." In Online-Journalismus, 57–93. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29664-3_4.

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Hooffacker, Gabriele. "Hypertext und Storyboard." In Online-Journalismus, 76–125. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-10771-0_4.

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Hooffacker, Gabriele. "Hypertext and Storyboard." In Online journalism, 49–79. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-35731-3_4.

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Singh, Rishabh, and Armando Solar-Lezama. "SPT: Storyboard Programming Tool." In Computer Aided Verification, 738–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31424-7_58.

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White, Tony. "Masterclass 31/Storyboard Animatic." In Animation Masterclasses: From Pencils to Pixels, 553–60. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003324287-34.

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Lindstaedt, Stefanie, and Harald Mayer. "A Storyboard of the APOSDLE Vision." In Innovative Approaches for Learning and Knowledge Sharing, 628–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11876663_64.

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Conference papers on the topic "Storyboard"

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Notargiacomo Mustaro, Pollyana, Ismar Frango Silveira, Nizam Omar, and Sandra Maria Dotto Stump. "Structure of Storyboard for Development of Interactive Learning Objects." In InSITE 2005: Informing Science + IT Education Conference. Informing Science Institute, 2005. http://dx.doi.org/10.28945/2912.

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A theoretical discussion and practical guidelines for development and production of learning objects as a result of a structural document named storyboard will be presented. A storyboard must contain instructions and detailed description for development learning objects. During the instructional design phase, the storyboards are elaborated by the instructional designer with collaborate of subject matter expert (SME), graphic artists, programmers, and other interdisciplinary team members research. This involves researches in instructional design procedures and processes for improvement materials, environments and learning experiences and promotes the acquisition of specifics skills and knowledge by students. But one of the problems to create learning objects is the simple transposing of traditional elements for cyberspace without concerning about the instructional strategies or considering learning styles that could be more significant than content-by-strategy. One solution for this problem is using storyboards as model schemes built over some theoretical proposals: Robert Gagne’s conditions for learning, levels of interaction present in Rod Sims’ Taxonomy, characteristics of hypertext systems presented by Pierre Levy and George Landow, and orientation in knowledge domain by using diagrams and reduction of information overload, characterized by Richard Wurman.
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Chen, Shizhe, Bei Liu, Jianlong Fu, Ruihua Song, Qin Jin, Pingping Lin, Xiaoyu Qi, Chunting Wang, and Jin Zhou. "Neural Storyboard Artist." In MM '19: The 27th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3343031.3350571.

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Midieum Shin, Byung-soo Kim, and Jun Park. "AR storyboard: an augmented reality based interactive storyboard authoring tool." In Fourth IEEE and ACM International Symposium on Mixed and Augmented Reality (ISMAR'05). IEEE, 2005. http://dx.doi.org/10.1109/ismar.2005.12.

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Silva, Lucineide, and Nielsen Simões. "Storyboard para vídeos pessoais." In XXIX Simpósio Brasileiro de Telecomunicações. Sociedade Brasileira de Telecomunicações, 2011. http://dx.doi.org/10.14209/sbrt.2011.95.

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Guo, Yan Ru, and Dion Hoe-Lian Goh. "From storyboard to software." In SAC 2016: Symposium on Applied Computing. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2851613.2851909.

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Hoshino, J., and Y. Hoshino. "Intelligent storyboard for prototyping animation." In IEEE International Conference on Multimedia and Expo, 2001. ICME 2001. IEEE, 2001. http://dx.doi.org/10.1109/icme.2001.1237735.

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Derksen, Gerry, Stan Ruecker, Tim Causer, and Melissa Terras. "Demonstrating data using storyboard visualization tool." In the 6th International Symposium. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2493102.2493115.

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McDermott, Scott, Junwei Li, and William Bares. "Storyboard frame editing for cinematic composition." In the 7th international conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/502716.502759.

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Fujima, Jun, Klaus P. Jantke, and Sebastian Arnold. "Digital game playing as storyboard interpretation." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659163.

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Munirrah Binti Razali, Nurlieda Ellyanna, Ratna Zuarni Ramli, Hazura Mohamed, Fadhilah Rosdi, Norizan Mat Diah, and Nor Azan Mat Zin. "Designing Storyboard for Climate Change Game." In 2021 International Conference on Electrical Engineering and Informatics (ICEEI). IEEE, 2021. http://dx.doi.org/10.1109/iceei52609.2021.9611155.

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Reports on the topic "Storyboard"

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Boehnlein-Kearby, Theresa, Derek Pendlebury, Avanash Gore, Scott McKibbin, Tom Walls, Mark Driesner, Gail Berch, Chloe Fesselet, and Jan Grace. Forecast and Demand Planning Optimal Process, RACI & Storyboard. BioPhorum, May 2022. http://dx.doi.org/10.46220/2022sp001.

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Harris, James Mark, Dorthe B. Carr, and Jamie L. Coram. IDC Re-Engineering Phase 2 Iteration E1 and E2 Storyboard (UIS) Updates version 1.0. Office of Scientific and Technical Information (OSTI), January 2017. http://dx.doi.org/10.2172/1341778.

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Shaikh, Uzma, and Curtis Vincent Canada. Summer of storyboards. Office of Scientific and Technical Information (OSTI), October 2015. http://dx.doi.org/10.2172/1222682.

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Landay, James A., and Brad A. Myers. Just Draw It! Programming by Sketching Storyboards,. Fort Belvoir, VA: Defense Technical Information Center, November 1995. http://dx.doi.org/10.21236/ada303010.

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